Posts tagged: writing
David Brothers writes:
What Alex is referring to here is something I’m going to call “writing while black,” because I honestly don’t know if there’s a proper term for it yet. In short, there’s a tendency for a certain subset of comics fans to view books written by black writers with a suspicious eye. The motivations of the writers come into question. Sometimes that suspicion manifests itself as viewing a book as a “black book” instead of a regular old comic book. Other times, it’s a kind of defensive, twisted white guilt, like when fans declared that Black Panther and Storm were only getting married because they’re black, and how offensive that is. (They didn’t. It’s not.) And other times, it’s just straight up racism, of course.
The specific thing that Alex is getting at, though, are the times when fans look at a book written by a black writer that feature a black character winning at something (or even being present, which I suppose is a type of win in and of itself) and go, “Hmmm… I dunno about all this. This seems pretty anti-white/preachy/political/angry/etc.” The accusations tend to reveal more about the complainer than the complained, in my experience. Nine times out of ten, it isn’t what they say it is.
(via Ian MacEwan)
The Guardian did a group interview of five of the six nominees for the the Royal Society’s Winton prize for science books 2012 — Steven Pinker, James Gleick, Brian Greene, Lone Frank and Joshua Foer.
Here’s an exchange between Greene and Pinker:
How has the formal, technical way scientists write journal papers affected popular science writing?
BG: I was looking back over some quantum mechanics papers from the 1920s and in one article the scientist described an accident in his laboratory when a glass tube exploded, a nickel got tarnished and he heated it to get rid of the tarnish – he went through the whole story himself in the technical article. You don’t really see that much these days. I don’t know if that is a one-off example, I haven’t done an exhaustive study, but have journal articles moved away from telling the story of discovery to just a more cut-and-dried approach?
SP: They have; I think that’s been documented. There is scientifically a problem with that, as opposed to narrating what happened. The problem is that since you’re under pressure from the journal editor to tell your story leading up to your conclusion without talking about all the blind alleys and accidents, it actually distorts the story itself because it inflates the probability that what you discovered is really significant. If you tried 15 things that didn’t work and one thing that did work and didn’t talk about the 15 that didn’t work, then the statistic that makes it significant is actually mistaken. The statistic has to be computed over all of the experiments you ran, not just the one that happened to work. In the social sciences especially, we’re seeing that there’s a lot of damage done by the practice of only reporting the successes and telling the story as if it was a straight line to a successful result.
Edan Lepucki posits that literary fiction is indeed genre fiction and lists its attributes:
1. The Long Title
3. Scene, Exposition, Scene, Flashback, Scene, Cue Epiphany
4. A Dog barks, someone eats a watermelon, a car drives away.
5. The plate drops!
Full Story: Literary Fiction is a Genre: A List
I wrote for TechCrunch about the way automation and machine learning algorithms may start putting writers out of jobs:
Discovering news stories is actually the business that Narrative Science wants to get into, according to Wired, and CTO Kristian Hammond believes finding more stories will actually create more jobs for journalists. I’m not so sure. It will depend on a few things, like how much more efficient writers can be made through technology and how much risk publishers will take on “unproven” story ideas vs. safe computer generated ideas. The idea behind Current was that it could help publishers find lucrative stories to run to subsidize more substantial reporting. Of course publications will continue to run original, differentiating human written reporting. But the amount resources dedicated to that sort of content may change, depending on the economics of automation.
And the possibilities get weirder. Look at drone journalism. Today drones, if they are used at all, are just used to extend journalists capabilities, not to make us more efficient or replace us. But how could drones change, say, event or travel coverage in coming years? Will one reporter with a suitcase full of drones and a server full of AI algorithms do the work of three?
Previously: DARPA Training Computers to Write Dossiers
Andrew Jack lists his top 10 fighting myths:
Full Story (with more detail for each myth): Andrew Jack Writing: 10 Hand to Hand Combat Myths That Writers Need To Stop Using
(via Cat Vincent)
You can listen to or download the interview at Disinfo. Here are some of the points Ellis made:
I love Thompson’s work but think he can be a bad influence on writers and journalists who wind up writing crappy prose in an attempt to be edgy and play it fast and lose with the facts to be “gonzo.” And because of his image and style, his message was often lost. Too many people remember him as a character.
… at least for serialized genre fiction writers:
These aren’t Authonomy-esque, publish-and-be-encouraged-by-fellow-writers sorts of sites, though, or even collections of self-published novels. The websites host what is being dubbed “freemium” publishing. Publishing Perspectives has more details: a growing number of self-publishing websites host thousands of free-to-read web serials – anything from historical epics to sci-fi – posted by their authors. As a serial gathers critical mass, the author is invited to become a “VIP”, and readers have to pay for the new instalments – only a few yuan, but these micropayments from readers can number in the millions: China Daily reports that one author, the 26-year-old Huang Wei, makes more than more than Y1m a year (£100,000).
The other night in Portland, Gibson said Twitter was the equivalent of only $300 worth of imported magazines - guess the value has already inflated.
I thought Richard’s comment about how there may never be another LOST was interesting.
I wrote The Invisibles Vol 1 issue 23 on my living room couch, hallucinating, and dying of MRSA-related septicaemia, (those cranky descriptions of demons and the crystal crown biting into Mister Six’s head and the Gnostic Christ saying ‘I am not the God of your fathers…’ were scrawled notes from the delirious no-man’s land between life and giving up) and the following issue was written from a hospital ward, waiting to hear if the near-fatal staph aureus infection I’d contracted had spread to my heart. I was there for two weeks, working as often as I could between tests and treatment, with the intention of writing myself out of trouble (as a mad sidebar, after beating off the infection with the aid of antibiotics, I became inexplicably obsessed with eating raw carrots for the remainder of my stay in hospital - only to find out last week that staph aureus - ‘golden’ staphylococcus - gets its distinctive color from carotene. I must have been so stuffed to the fucking guts with carotene-pigmented bastards when the bacteria was swarming through me that I went into withdrawal for the stuff when the bugs were finally wiped out!).
I’m armpit-deep in the “52” project which I’m plotting and writing along with Geoff Johns, Mark Waid, Greg Rucka and Keith Giffen with JG Jones on covers, I see this project as the first ‘album’ from DCs first creative ‘super group’ and it’s been the most fun I’ve had in this business to date. I just got back from a series of incredible creative summits in New York and couldn’t believe the energy, imagination and refreshing lack of prima donna ego bullshit on show. “52” is being planned meticulously and written like a TV drama. Based on the material we’ve got so far, I think this project will break new ground for mainstream comics and I can’t imagine any other company being capable of anything like it right now, so it’s going to be very unique and absorbing read, squeezing down four years of continuity into one. It’s the first real, full-length ‘graphic novel’ about superheroes and is likely to change the way we think of what can be done with them.
Transrealist novel grows organically, like life itself. The author can only choose characters and setting, introduce this or that particular fantastic element, and aim for certain key scenes. Ideally, a Transrealist novel is written in obscurity, and without an outline. If the author knows precisely how his or her book will develop, then the reader will divine this. A predictable book is of no interest. Nevertheless, the book must be coherent. Granted, life does not often make sense. But people will not read a book which has no plot. And a book with no readers is not a fully effective work of art. A successful novel of any sort should drag the reader through it. How is it possible to write such a book without an outline? The analogy is to the drawing of a maze. In drawing a maze, one has a start (characters and setting) and certain goals (key scenes). A good maze forces the tracer past all the goals in a coherent way.